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theloverstomb · 4 months

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‘Fragile Microbiomes’ by bio-artist Anna Dumitriu

1. SYPHILIS DRESS- This dress is embroidered with images of the corkscrew-shaped bacterium which causes the sexually transmitted disease syphilis. These embroideries are impregnated with the sterilised DNA of the Nichols strain of the bacterium - Treponema pallidum subsp. pallidum - which Dumitriu extracted with her collaborators.

2. MICROBE MOUTH- The tooth at the centre of this necklace was grown in the lab using an extremophile bacterium which is part of the species called Serratia (Serratia N14) that can produce hydroxyapatite, the same substance that tooth enamel is made from.

The handmade porcelain teeth that make up this necklace have been coated with glazes derived from various bacterial species that live in our mouths and cause tooth decay and gum disease, including Porphyromonas gingivalis, which can introduce an iron-containing light brown stain to the glaze.

3. TEETH MARKS: THE MOST PROFOUND MYSTERY- In his 1845 essay “On Artificial Teeth”, W.H. Mortimer described false teeth as “the most profound mystery” because they were never discussed. Instead, people would hide the stigma of bad teeth and foul breath using fans.

This altered antique fan is made from animal bone and has been mended with gold wire, both materials historically used to construct false teeth (which would also sometimes incorporate human teeth). The silk of the fan and ribbon has been grown and patterned with two species of oral pathogens: Prevotella intermedia and Porphyromonas gingivalis. These bacteria cause gum disease and bad breath, and the latter has also recently been linked to Alzheimer’s disease.

4. PLAGUE DRESS- This 1665-style 'Plague Dress' is made from raw silk, hand-dyed with walnut husks in reference to the famous herbalist of the era Nicholas Culpeper, who recommended walnuts as a treatment for plague. It has been appliquéd with original 17th-century embroideries, impregnated with the DNA of Yersinia pestis bacteria (plague). The artist extracted this from killed bacteria in the laboratory of the National Collection of Type Cultures at the UK Health Security Agency.

The dress is stuffed and surrounded by lavender, which people carried during the Great Plague of London to cover the stench of infection and to prevent the disease, which was believed to be caused by 'bad air' or 'miasmas'. The silk of the dress references the Silk Road, a key vector for the spread of plague.

5. BACTERIAL BAPTISM- based on a vintage christening gown which has been altered by the artist to tell the story of research into how the microbiomes of babies develop, with a focus on the bacterium Clostridioides difficile, originally discovered by Hall and O’Toole in 1935 and presented in their paper “Intestinal flora in new-born infants”. It was named Bacillus difficilis because it was difficult to grow, and in the 1970s it was recognised as causing conditions from mild antibiotic-associated diarrhoea to life-threatening intestinal inflammation. The embroidery silk is dyed using stains used in the study of the gut microbiome and the gown is decorated with hand-crocheted linen lace grown in lab with (sterilised) C. difficile biofilms. The piece also considers how new-borns become colonised by bacteria during birth in what has been described as ‘bacterial baptism’.

6. ZENEXTON- Around 1570, Swiss physician and alchemist Theophrastus Paracelsus coined the term ‘Zenexton’, meaning an amulet worn around the neck to protect from the plague. Until then, amulets had a more general purpose of warding off (unspecified) disease, rather like the difference today between ‘broad spectrum’ antibiotics and antibiotics informed by genomics approaches which target a specific organism.

Over the next century, several ideas were put forward as to what this amulet might contain: a paste made of powdered toads, sapphires that would turn black when they leeched the pestilence from the body, or menstrual blood. Bizarre improvements were later made: “of course, the toad should be finely powdered”; “the menstrual blood from a virgin”; “collected on a full moon”.

This very modern Zenexton has been 3D printed and offers the wearer something that genuinely protects: the recently developed vaccine against Yersinia pestis, the bacterium that causes plague.

#my favourite pieces from this exhibition that I visited last month at the Thackray medical museum in Leeds #absolutely fascinating reading about the process and meanings behind these works #mine #anna dumitriu #works

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thepearlyalbatross · 15 days

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I like to imagine that the supernatural community in London are all just collegively waiting for Panyeland to get married.

Like they're all completely convinced those two boys are dating but because of time period prejudice don't say anything. But everyone is just waiting fir when they announce their engagement.

The witch who owns a flower shop keeps sunflowers, red roses and forget me nots on standby ready to make bouquets at any second.

The ghost costume designer has designs upon designs of their wedding outfits at the ready for then too look over and chose to form in to. (Taking age and period times into account)

The immortal bookshop owner has paper ready for invitations, because the entire supernatural community has been waiting for this.

The seer portrait artist always keeps a few days of each season open as those boys never match with her visions and she wants them to have an image of their wedding day.

The Night Nurse is also completely absorbed in this as well, prepared for when she must give in some solved cases late so they can have a good amount of time for the wedding and honeymoon.

It's somehow a complete shock to Charles and Edwin when they do eventually get married that so many people turned up. All people they knew on the basic surface level but all care for them and want them happy. To know there's people who care about them in their afterlives. It's wild.

#dead boy detectives #edwin payne #charles rowland #payneland #dbda #dead boy detective agency #their wedding would be big with a very small reception for their closest friends #and the entire community would be okay with that #they were just so excited it finally happened #of course these boys are datinf #have u seen them

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fans4wga · 1 year

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"The studios thought they could handle a strike. They might end up sparking a revolution"

by Mary McNamara

"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.

Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.

This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.

More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.

But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.

Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.

Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”

“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”

If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.

“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”

Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.

A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”

When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.

Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)

Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.

Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.

Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.

The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”

Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.

Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.

At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.

It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."

#sag-aftra strike #sag strike #fans4wga #writers guild strike #actors guild strike #union solidarity #wga strong #i stand with the wga #wga strike #writers strike

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littlequeenies · 21 days

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September 21, 2011 -Lee Starkey and Jay Mehler with designer James Small (photos 2 & 3), artist Wildcat Will (photo 6), and an unknown person (photo 4) at the James Small Menswear Spring/Summer 2012 runway show during London Fashion Week at Vauxhall Fashion Scout in London, England.

#Lee Starkey #Jay Mehler #London Fashion Week #James Small #Wildcat Will #2012 #2012 Lee #2010s #2010s Lee #model #muse #make up artist #fashion designer #boutique owner #stylist #backing vocalist

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maximoff-pan · 9 months

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the ultimate deception | benedict bridgerton (part one)

summary: you are a well known artist who paints under a pseudonym. What happens when Lady Whistledown comes to know of your identity? How will your relationship with Benedict evolve?

pairing: benedict bridgerton x fem!(artist)reader

word count: 4k

warning(s): poor writing and dialogue (sue me, I'm rusty lol), very unedited so if there are mistakes, I apologize, misogyny, penelope aka Lady Whistledown's biggest defender

a/n: this is definitely going to be more than one part, but I wanted to post something after so many months. Let me know how you like it (or don't like it haha)...comments and feedback are much appreciated <3

• • • • • •

“I wish I possessed merely an ounce of your talent.”

Benedict’s gaze seems to be wholly absorbing your latest painting, a depiction of the botanical wonders of London’s Royal Kew Gardens.

You puff out a breath, blowing on the feathery end of one of your writing quills. In your haste, it had gotten loose, tickling your face irritatingly. Tucking it back behind your ear, you wave him off. “You have much more talent than you give yourself credit for.” You admit through squinted eyes, scanning your work. “You simply lack conviction. And you worry far too much about what others think of you.”

Benedict smiles, receiving your words as the highest of praise. He reaches out to take a better look at the piece of art before him. “You flatter me.” He mumbles in awe. “But I suppose there’s a chance you could be right.”

Chuckling at his words, you grin knowingly. You’re right. It’s more than a chance…you just are. He knows it too.

You both continue to steadily eye the painting, you out of critical evaluation of your work, and him in sheer admiration of it.

Benedict’s favourite part remains the beautifully bloomed magnolias that are scattered across the canvas. He’d been sure to tell you numerous times of their elegance while you’d been working on it, eagerly awaiting the finished product. As you’ve come to realize, Benedict loves watching you work. It’s one of the prices you’ve had to pay for his allowance of your workstation being at Bridgerton House, if you could even call it that.

You are grateful, truly. You wouldn’t be able to make your own living without his kindness. And you certainly wouldn’t be able to keep to yourself in the way you prefer to.

“When will Augustus Leighton be displaying his latest work of perfection?” Benedict’s question reminds you of your fate as an artist.

Augustus Leighton is the pseudonym you paint under. Using his name, you have become a well known artist among the ton, even going so far as to have a painting hung at Buckingham Palace. It’s difficult, you must admit, pretending to be someone else. But it’s a necessary evil.

Painting as a woman would get you nowhere. Especially as a woman with no money (particularly at the time you began), no status, and no husband.

Your mother is a seamstress with little to her name and your father was a servant to Violet and Edmund Bridgerton, before his heart became too weak. He passed away when you were thirteen, only a few years after the Bridgerton children had lost their own father. You’d grown up with little money, but Violet had been kind to both you and your mother, seeing how close you’d become with her children.

You were raised alongside them, Benedict and Eloise becoming your closest of friends. At three and twenty, there are five years between you and the two siblings in either direction, with Eloise being freshly eighteen, and Benedict having turned twenty eight. To this day, they remain two of only three people who know of your true identity, outside of Penelope Featherington.

You hadn’t exactly meant for Eloise or Penelope to find out about it, but once they had, it became comforting to have more than just Benedict to speak to about your predicament. Especially considering, although Benedict has been wonderfully supportive, he could never understand the struggle a woman must endure in a male dominated world.

“Likely never. This one is a gift for Lady Danbury.” You answer Benedict’s inquiry after a bout of silence. “She’s spoken about her love of these gardens quite regularly, so I thought, why not have Mr. Leighton recreate it for her?”

“How will you get it to her?” He questions.

A smile pulls at the corners of your lips. “I have my ways, lest you worry about it.”

• ж • ж • ж • ж •

The next few days are interesting to say the least. You’d somehow managed to get the painting delivered to Lady Danbury, and as far as Violet had been willing to speak of her latest visit with the formidable aforementioned woman, you have been made aware that she adores it.

You’d also heard more about it from Benedict, who’d mentioned something about her being at a loss for words, an ultimate shock to both him and his mother. They’d never seen her look so bewildered.

According to Eloise, Lady Danbury had been surprised to receive such a gift, especially of something so near and dear to her heart. She’d said it reminded her of her time with the Queen, telling the young Bridgerton woman about the months just after her husband had passed, when a new independent lifestyle began to bloom for her.

The painting itself reminded her that women like her could be free, and one day, they would be. That sort of metaphorical mindset had definitely appealed to Eloise’s sense of social justice. She’d been more than excited to tell you about the older woman’s reaction to your art, claiming it to be a wonderful revelation.

Today though, as you sit in the Bridgerton’s common living room, the opposite representation of said female autonomy rests in your hands. The paper feels rough against your skin as you pass it to Eloise who’s propped excitedly to the left of you. You’ve never been a fan of Lady Whistledown’s gossip column, although you can admire her unabashed confidence. But despite her strong will as an author, which could be seen as an inherently empowering trait, you are of the impression that she goes about it in an entirely backward way.

Women don’t need to put each other down to build themselves up. It accomplishes nothing, consequently acting as a source of nourishment for the patriarchy you find yourself trapped in.

“You’re not going to read it?” Eloise asks as she takes the pamphlet from you.

“I never do.” Is your instant reply.

Penelope perks up at the mention of the column, eyes trained curiously on you. If you had known better, you’d say she was a little too interested.

But at this moment you shrug it off, listening with no suspicion as she asks a simple, “Why?”

You don’t have the hindsight to understand why your stomach turns at her question, but you respond anyway. “I tend to think of Lady Whistledown as a poison.” It’s the first time you’ve voiced such an opinion.

Penelope and Eloise turn to you in surprise. “Come again?” Penelope’s soft voice cuts through.

“She is a poison.” You repeat before explaining yourself. “Do not get me wrong, I hold admiration for her bravado, but her words, the things she writes, they cause nothing but pain and conflict for those she chooses to sink her teeth into.”

“But she’s an independent woman.” Eloise interjects. “One who is doing more than any of us could dream of. She is making a name for herself!”

You try to think about your next words carefully, but your mouth makes quick work of a reply. “A name which she hides behind, casting stones through the guise and safety of anonymity.”

Penelope lets out a scoff from beside you. She’s always been one to defend the infamous gossip columnist. “At least she does not hide herself behind the mask of a man.” That feels like a shot. “The people know full well of her gender, despite her true identity remaining a secret.”

You hear the implication on her tongue. The same cannot be said for you.

And she’s not wrong. You do hide yourself behind the mask of a man. You’d never once denied that.

You sigh. “I know you must think of me as a hypocrite.”

Eloise agrees hesitantly. “Only a little.” She admits. “It’s just that you do the same as Mr. Leighton.”

You soften at her honesty. Truthfully, you understand where she’s coming from, but you can’t help the urge you feel to defend yourself.

“I disguise myself as Augutus because I know that no artist or art critic alike will take me seriously as I am. I want to share my work with the world, that is simply all I want. It’s all I have ever wanted.”

“Does that not make you a coward?” Penelope inquires, although it feels less like a question and more like an opinion. This is what she believes. And she's entitled to that.

“Perhaps.” You nod in acknowledgment. “But it has also made me uniquely successful. And I take great pride knowing that my work is highly regarded, in spite of the fact that I have to be someone else to succeed.”

“Does that ever bother you?” Eloise persists. “Knowing that no one will know you for the work you have done?”

Before you can respond, Penelope chimes in with a query of her own. “Does it ever make you feel guilty, lying as you do?” This feels like a challenge.

You turn to Eloise, answering her first. “No, I feel quite unbothered. I like the privacy it provides me.” Your gaze flicks between the two girls, a fire in your eyes as you speak.

You answer Penelope’s question next. “Guilt is one of the last feelings to cross my mind.” You feel content with it. “Because of Augustus, I have my own money, my own independence. I do not need a man to survive or to be happy. I have choices. And that's a facet of my life I never dreamed could have existed. If there is anything more empowering for a woman than that, I cannot think of it.”

Eloise listens to your words carefully, absorbing them, reveling in them. She hadn’t thought of it like that, but you’re right. Independence is a sign of true equality. And you have that. Not because of the name you hide behind, but because you’d used the insecurities of men to your advantage. You’d played the game and won.

“I suppose I have been quite short sighted.” There’s much less arrogance in her tone. Eloise sounds humbled. “You’ve given me a new perspective to think about.”

Penelope does not enjoy the direction this conversation has headed. “Surely you cannot think yourself above someone such as Lady Whistledown.”

Your face scrunches in thought. “Above?” You stipulate. “I do not think myself above anyone, gender aside. But I do think I have a much higher sense of self respect than she does.”

“And how could that possibly be?” Penelope has to bite her tongue. She wants to say more, defend herself more. But she cannot.

Eloise cuts in. “Lady Whistledown has the utmost confidence in herself. I dare say more than all the women in London combined. As much as I have come to see your side, I cannot agree with that.”

“One’s high level of confidence is of little concern here.” You deliver. “Often, in matters regarding the human condition, such as these, it can act as a detriment.” Your eyes narrow as you speak. “Self respect and self confidence can coincide, but they are not the same.”

Eloise laughs out of confusion. She’s not used to being this clueless. “I don’t understand.” She says.

“Ah,” you decide to stop tiptoeing around the subject. “I merely think that no self-respecting woman would use the pain and suffering of other women, or any other person for that matter, for their own profit and entertainment.”

Eloise’s smile drops. “Oh.” Again, she hadn’t thought of it that way. But what resonates with her most is that you’re not wrong.

“Is that what you truly think of Lady Whistledown?” Penelope’s voice is calm and collected for the first time this afternoon. It almost scares you.

“Yes.” You say, before voicing, “However, I mean no offense to either of you. I know how much you girls adore her column. I just want more for you than what she does. A life of gossip is dangerous, and you deserve so much more.”

If you had known you’d been talking to Lady Whistledown herself, maybe you would have kept those opinions to yourself. But little did you know how much your life was about to change, how dangerously you’d walked the line, and how much vengeance rests in Penelope Featherington’s soul.

Future note to self, do not play with fire if one does not wish to get burnt.

• ж • ж • ж • ж •

“(Y/n), I think you need to see this.” Benedict holds up the newest edition of London’s famous gossip column.

Your heart sinks at the look in his eyes. I’m sorry they seem to say.

You haven’t even read it and you already know it’s bad. Handing it to you, Benedict looks hesitant, almost in preparation of what's to come. As you take it from him, you glance down at the ink on the paper, her handwriting etched in your brain.

You swallow the lump in your throat as you begin to read:

Dearest Gentle Reader,

It has come to this author’s attention that a certain individual is playing an unforgivable game of deception within the world of classical art that this ton so highly regards. This artisan has gone to great lengths to keep their true identity from you, painting under a well recognized pseudonym.

By now you may have guessed, this artist is a woman. One who has tricked you and lied to you by passing her work off as that of a man’s. What a horrid crime it is to keep such a secret from you, and a desperate one, I must admit. A woman so foul as to seek such attention for her art, far too greedy to be content with the life so many of the wonderful women of the ton lead. Instead, she parades around disguising herself so she can live a life she feels entitled to.

This author asks you to consider the arrogance of it all. But the question remains, as I am sure you are desperate to uncover: who is the serpent who remains among us?

And so it is with great sorrow that I announce the once beloved Augustus Leighton is a fraud. A man never seen in the public setting, has given us a reason why. He is a woman.

And her name, ladies and gentleman of London, is (Y/n) (L/n).

As I am sure you, gentle reader, are shocked at this revelation, I will take a moment to address the woman this particular entry concerns.

May I remind you Miss (L/n), I have ears and eyes everywhere. Or did you forget? It would do you a world of good to remember that the next time you think about besmirching me. And, as I write this, I must say, this warning goes for all. Heed it, live by it, breathe by it. I am not a woman you want to cross.

Yours truly,

Lady Whistledown

Panic crawls through your body. You want to cry, scream, maybe even simply die from the anxiety you’re feeling.

“What am I going to do?”

Your voice cracks, it sounds like glass breaking. Shattered, ragged, and tired, and Benedict can do nothing but hold you.

Again, as your body shakes and caves into the pressure you think, what am I going to do?

• ж • ж • ж • ж •

The moment Eloise enters the room with Anthony at her side, your mind is sent ablaze. Only three people had known about Augustus. Only three people could have possibly let it slip, and you know for a fact it wasn’t Benedict.

As much as you want to believe Eloise would never do something like that to you, you can’t help but feel like she might have offhandedly mentioned it to someone. Her mouth had always worked much faster than her brain.

Benedict’s gaze meets yours in understanding. He hopes his sister hasn’t done this; he’ll be furious if she has.

You’re about to say something when a certain eldest Bridgerton catches you off guard. Anthony smiles when he sees you, eyes twinkling uncharacteristically so.

“I had no idea you could paint like that.” He says. “I must admit, I’m quite proud of you.”

You blink rapidly in confusion. Proud? In all the years you’ve known Anthony, he’s never told you he’s proud of you.

“So you’ve read the column then?” Your head hangs in shame. Everyone in London has probably read it by now.

“Everyone has.” Eloise pipes in timidly, confirming your suspicions.

She’s nervous, understandably so, fingers fiddling with the hem of her dress. You assume when you finally catch her gaze that she’ll avert it quickly, but instead, she holds it well.

We need to talk.

Benedict, reading the room perfectly, coughs in apprehension. “Brother, how about we let these ladies be for a moment? I’m certain they have some things to discuss.”

“Of course.” Anthony nods with a smile, not before reminding you how proud he is of you.

If anything good can come of this, it might just be that.

Once alone, Eloise is eager to assure you of her innocence. “I spoke to no one.” She promises. “Blood be forgotten, you’re my sister (Y/n). I would never betray you like that.”

The look on her face is one of pure panic; she needs you to believe her. And despite everything, you do. It almost makes you feel guilty that you questioned her.

“It’s alright.” You assure her. “I know you wouldn’t.”

But that only leaves one person…

“I think Penelope is Lady Whistledown.” You're taken aback by Eloise’s words, like a stab to the chest. Twisting the knife in further, she corrects, “I know she is.”

Moments of silence pass before you can collect your thoughts. “How long have you known?”

This is where Eloise loses her composure. Pure shame is etched upon her features. “I caught her a few weeks ago.”

A few weeks. A few weeks… A FEW WEEKS?

“Oh.” Your murmur is dejected and weak.

Eloise had known you’d been slandering Lady Whistledown in front of Lady Whistledown, and she’d done nothing to stop you, except defend her best friend’s honour. No wonder she’d been so reluctant to agree with you.

“I wanted to say something.” Eloise stammers. “But I couldn’t. Penelope doesn’t know that I know.”

You inhale a staggered breath of air, face falling to your palms. “I’ve been such a fool. How could I have been so stupid?”

“You have not.” The girl beside you opposes before continuing, “Trust me, I am furious with Penelope. The things she’s done and said about me, about the people I care about, I’m not sure I can forgive her for it.”

You scoff lightly. Trust her? How are you supposed to do that?

Sure, Eloise has certainly been burned by Lady Whistledown before, but she’s always had her name to fall back on. “You have no idea what it’s like, Eloise.”

“I’m sorry.” She slumps in apology, shrinking in on herself. Eloise likes to think she can understand where you’re coming from. She’s a woman, same as you, one who has the same struggles against the patriarchy, and yet, hers are much different.

“Don’t.” You dismiss her apology in frustration. It feels harsh but necessary. “You always speak about feminism and the difficulties of being a woman. How it is impossible for you to hold title and rank, or to be recognized for your accomplishments. But you are a Bridgerton Eloise, and that comes with more privilege, more title, more rank, and more acknowledgment in society than you seem to understand.”

Eloise’s brow furrows. “More often than not, that name is a burden, something you could not possibly grasp.”

“And I should not have to.” Your lips pull into a thin line. This isn’t a competition, but you feel it necessary to defend your point wholly. “I am the daughter of a servant and a seamstress. I have no money, no control, and no future if I am not to marry. Since the day I was born, I belonged to someone else. You talk of struggle, but you have no idea what it truly means.”

Eloise doesn’t like what you’re implying. “You think I live a life of luxury? That I am a stranger to the adversities life has to offer? I can assure you, I know much more about the struggles of which you speak. My mother has prepared me for the purpose of my future; finding a husband is imperative.”

“You plan to remain unmarried, correct?” You ask her seriously.

“With every fiber in my being.” Is her scathing reply. And it only serves to prove your point. But you can see her side of things too.

“El, you defy your mother with your distaste for society. And while I applaud your determination to fight for equality, your fault remains in your failure to recognize the entitlement that has been bestowed upon you simply by having that choice. Unlike so many women, you can choose to live your life as a spinster. For you, those options exist. For me, I have not one choice besides finding a well suited, at best, middle class husband, because that is all I am suited for.”

In this moment, her heart shatters for you. Is that really what you think of yourself? “You cannot possibly mean that.”

“It’s how it has to be.” You affirm.

“It’s not.” She disagrees. “There’s so much more for you than a husband.”

Both your defenses are down, walls have collapsed, and you’re starting to get through to each other. She’s starting to grasp the gravity of what this means for you. Your career is more than likely over, as is the steady source of income you’d managed to build. Except where before you’d had less than no money to your name, you now had a healthy dowry (that you’d earned no less) to find a more comfortable suitor.

Eloise sees it now. What Penelope has done is monumentally life changing.

However, as emotional as this circumstance is, you still feel the need to reach out. She’s your sister after all.

“Eloise,” your eyes search hers. They tread in a sea of empathy. “I never meant to imply you have lived a life without misfortunes. I’m not trying to diminish your hurt. But I thought if you heard my side, you might come to understand mine.”

She softens at your admission, having gotten carried away in defending herself. Nodding, she smiles gently. “I do.” She says. “And while you may not bear the Bridgerton surname, you do have us. Every Bridgerton will stand behind you, always.”

Against every fibre in your being, you believe her. Somehow you’ll always have this little family of yours, somehow you hope you’ll be okay…

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